悲劇的誕生The Birth Of Tragedy 第106期:音樂能產生神話和悲劇

According to the doctrine of Schopenhauer, therefore, we understand music as the immediate language of the will, and we feel our fancy stimulated to give form to this invisible and yet so actively stirred spirit-world which speaks to us, and we feel prompted to embody it in an analogous example.

因此，根據叔本華的學說，我們可以把音樂理解爲意志的直接語言：我們感到我們的想象力被激發起來，去塑造那有聲無形但生動活潑的精神世界，並且我們要用類似的寓言把它形象化。

On the other hand, image and concept, under the influence of a truly corresponding music, acquires a higher significance.

另一方面，在真正符合的音樂的影響下，形象與概念便取得更高度的意義。

Dionysian art therefore is wont to exercise two kinds of influences on the Apollinian art faculty: music incites to the symbolic intuition of Dionysian universality, and music allows the symbolic image to emerge in its highest significance.

所以，醉境藝術往往對夢境藝術的能力產生兩種影響：音樂先引起對醉境普遍性的象徵性直觀，然後音樂也使這種象徵形象顯出其最高度的意義。

From these facts, intelligible in themselves and not inaccessible to a more penetrating examination, I infer the capacity of music to give birth to myth (the most significant example), and particularly the tragic myth: the myth which expresses Dionysian knowledge in symbols.

從這些不言而喻又可以深究的事實，我便推測音樂有產生神話（即最富有意義的寓言），尤其是悲劇神話之能力：神話就是以象徵來表現醉境的認識方式。

In the phenomenon of the lyrist, I have shown how music strives to express its nature in Apollinian images.

關於抒情詩人的現象，我曾經講過：在抒情詩方面，音樂如何竭力爭取用夢境形象來表現它的性質。

If now we reflect that music at its highest stage must seek to attain also to its highest objectification in images, we must deem it possible that it also knows how to find the symbolic expression for its unique Dionysian wisdom; and where shall we seek for this expression if not in tragedy and, in general, in the conception of the tragic?

現在，試設想音樂在最高階段勢必力求達到最高度的象徵化。我們就應該認爲音樂也大有可能爲它特有的酒神智慧找到象徵化的表現方法。但是，除了向悲劇和一般悲壯性這些概念以外，試問我們向哪裏去尋求這種表現方法呢？